He was buried in the churchyard of St. Saviour's, and the comedians were his only mourners perhaps half envious of his escape from the storm that was already grumbling afar, and sending ahead its herald billows. No stone marked his neglected resting-place, but in the parish register appears this brief memorial, "March 20, 1639-40-buried Philip Massinger, a STRANGER." His sepulchre was like his life, obscure; like the nightingale, he sung darkling it is to be feared, like the nightingale of the fable, with his breast against a thorn. COLERIDGE, HARTLEY, 1840, The Dramatic Works of Massinger and Ford, Introduction, p. liv. It may safely be asserted that, little as we know of Massinger's life, few personalities in the gallery of our old dramatists are recognisable with greater distinctness in their works, and few commend themselves more signally to high-minded sympathy and esteem.WARD, ADOLPHUS WILLIAM, 1875-99, A History of English Dramatic Literature, vol. III, p. 2. THE OLD LAW There is an exquisiteness of moral sensiblity, making one's eyes to gush out tears of delight, and a poetical strangeness in the circumstances of this sweet tragi-comedy, which are unlike anything in the dramas which Massinger wrote alone. The pathos is of a subtler edge. Middleton and Rowley, who assisted in it, had both of them finer geniuses than their associate.-LAMB, CHARLES, 1808, Specimens of Dramatic Poets. THE VIRGIN MARTYR Read the first four acts of Massinger's "Virgin Martyr," and Gifford's very agreeably written "Introduction." The merits of the poet are certainly great; though, as usual, rather exaggerated by the editor. The style is most elegant; and, as has often been observed, modern to a miracle. There is great moral grandeur in the conception of the principal character, but no probability, no decorum, a grossness so rank as to be perfectly disgusting. MACKINTOSH, SIR JAMES, 1807, Journal, Oct. 26-27, Life, ed. Mackintosh, vol. I, ch. vii. The "Virgin Martyr" is nothing but a tissue of instantaneous conversions to and from Paganism and Christianity. The only scenes of any real beauty and tenderness in this play are those between Dorothea and Angelo, her supposed friendless beggar-boy, but her guardian-angel in disguise, which are understood to be by Decker.-HAZLITT, WILLIAM, 1820, Lectures on the Literature of the Age of Elizabeth, Lecture iv. The first act of the "Virign Martyr" is as fine an act as I remember in any play.COLERIDGE, SAMUEL TAYLOR, 1833, Table Talk, April 5. In the "Virgin Martyr," he has followed the Spanish model of religious Autos, with many graces of language and a beautiful display of Christian heroism in Dorothea; but the tragedy is in many respects unpleasing. HALLAM, HENRY, 1837-39, Introduction to the Literature of Europe, pt. iii, ch. vi, par. 95. Massinger's account of Theophilus's conversion, will, we fear, make those who know any thing of that great crisis of the human spirit, suspect that Massinger's experience thereof was but small: the fact which is most interesting is, the "Virgin Martyr" is one of the foulest plays known. Every pains has been taken to prove that the indecent scenes in the play were not written by Massinger, but by Dekker; on what grounds we know not. If Dekker assisted Massinger in the play, as he is said to have done, we are aware of no cannons of internal criticism, which will enable us to decide, as boldly as Mr. Gifford does, that all the indecency is Dekker's, and all the poetry Massinger's. He confesses (as indeed he is forced to do) that "Massinger himself is not free from dialogues of low wit and buffoonery;" and then, after calling the scenes in question "detestable ribaldry," "a loathsome sorterkin, engendered of filth and dulness," recommends them to the reader's supreme scorn and contempt,— with which feelings the reader will doubtless regard them; but will also, if he be a thinking man, draw from them the following conclusions: that even if they be Dekker's, (of which there is no proof,) Massinger was forced, in order to the success of his play, to pander to the public taste, by allowing Dekker to interpolate these villainies; that the play which, above all others of the seventeenth century, contains the most supra-lunar rosepink of piety, devotion, and purity, also contains the stupidest abominations of any extant play; and lastly, that those who reprinted it for its rosepink piety and purity, as a sample of the Christianity of that past golden age of High-churchmanship had to leave out about one third of the play, for fear of becoming amenable to the laws against abominable publications.-KINGSLEY, CHARLES, 1859, Plays and Puritans, Miscellanies, p. 99. Though it seems to have been popular at the time, the modern reader will probably think that, in this case at least, the religious element is a little out of place. An angel and a devil take an acitve part in the performance; miracles are worked on the stage; the unbelievers are so shockingly wicked, and the Christians so obtrusively good, that we-the worldlyminded are sensible of a little recalcitration, unless we are disarmed by the simplicity of the whole performance. STEPHEN, LESLIE, 1874-79, Hours in a Library, vol. II, p. 153. some Dekker seems to have contributed the larger part of the play, including some very beautiful poetry as well as grossly ribald talk. The action is simplicity itself; nor is there the slightest attempt at refining upon the clear purpose of the fable.-WARD, ADOLPHUS WILLIAM, 1875-99, A History of English Dramatic Literature, vol. III, p. 12. The grace and tenderness of the Virgin's part are much more in accordance with what is certainly Dekker's than with what is certainly Massinger's, and that either was quite capable of the Hircius. and Spungius passages which have excited so much disgust and indignation-disgust and indignation which perhaps overlook the fact that they were no doubt inserted with the express purpose of heightening, by however clumsily designed a contrast, the virgin purity of Dorothea the saint. SAINTSBURY, GEORGE, 1887, History of Elizabethan Literature, p. 203. THE UNNATURAL COMBAT We read, with the strongest feelings of admiration, horror, and disgust, Massinger's Tragedy of the "Unnatural Combat." It is surprising that a poet of so much. taste and judgment in his style, should have none in his story, characters, or manners. But it was with Massinger's taste, as with Shakspeare's genius, which is displayed with such prodigal magnificence in the parts, but never employed in the construction of the whole. No Englishman, after this play, ought ever to speak of the horrors of the German stage.—MACKINTOSH, SIR JAMES, 1807, Journal, Nov. 5, Life, ed. Mackintosh, vol. 1, ch. vii. The battle between the Father and Son, in the Unnatural Combat," and the dreadful parley which precedes it, are as powerfully expressed as they are imagined. Indeed, the genius of Massinger is, perhaps, more conspicuous in this Play, with all its faults, than in any other.-NEELE, HENRY, 1827-29, Lectures on English Poetry, Lecture iv. In the "Unnatural Combat," probably among the earliest of Massinger's works, we find a greater energy, a bolder strain of figurative poetry, more command of terror, and perhaps of pity, than in any other of his dramas. But the dark shadows of crime and misery which overspread this tragedy belong to rather an earlier period of the English stage than that of Massinger, and were not congenial to his temper. HALLAM, HENRY, 1837-39, Introduction to the Literature of Europe, pt. iii, ch. vi, par. 95. THE DUKE OF MILAN 1623 The most poetical of Massinger's productions.-HAZLITT, WILLIAM, 1820, Lectures on the Literature of the Age of Elizabeth, Lecture iv. Among the tragedies of Massinger, I should incline to prefer the "Duke of Milan." The plot borrows enough from history to give it dignity, and to counter balance in some measure the predominance of the passion of love which the invented parts of the drama exhibit. The characters of Sforza, Marcelia, and Francesco, are in Massinger's best manner; the story is skilfully and not improbably developed; the pathos is deeper than we generally find in his writings; the eloquence of language, especially in the celebrated speech of Sforza before the Emperor has never been surpassed by him. -HALLAM, HENRY, 1837-39, Introduction to the Literature of Europe, pt. iii, ch. vi, par. 95. Although unrelieved either by pathos or I think, that he really shows, by the best means in his power, a strong sense of the dignity of womanhood, and that his catastrophe is more satisfactory than the violent death or the consignment to an inferior lover which would have commended themselves to most Elizabethan dramatists.STEPHEN, LESLIE, 1874-79, Hours in a Library, vol. II, p. 169. "The Maid of Honour" is beyond doubt to be reckoned among Massinger's most attractive productions and those best according with the bent of his own nature. The comic character of "Signior Sylli, a foolish self-lover," is at the same time unusually diverting, especially in his references to his family traditions. The Page is a specimen of a type for which Massinger had a special predilection.-WARD, ADOLPHUS WILLIAM, 1875-99, A History of English Dramatic Literature, vol. III, p. 20. I was so enchanted with these plays of Massinger's, but more especially with the one called "The Maid of Honor," that I never rested till I had obtained from the management its revival on the stage. The part of Camiola is the only one that I ever selected for myself. "The Maid of Honor" succeeded on its first representation, but failed to attract audiences. Though less defective than most of the contemporaneous dramatic compositions, the play was still too deficient in interest to retain the favor of the public. The character of Camiola is extremely noble and striking, but that of her lover so unworthy of her that the interest she excites personally fails to inspire one with sympathy for her passion for him. piece in this respect has a sort of moral incoherency, which appears to me, indeed, not an infrequent defect in the compositions of these great dramatic pre-Shake The spearites. KEMBLE, FRANCES ANN, 1878, Records of a Girlhood, p. 255. THE PICTURE 1629-30 The good sense, rational fondness, and chastised feeling, of the dialogue in which Matthias, a knight of Bohemia, going to the wars, in parting with his wife, shows her substantial reasons why he should go make it more valuable than many of those scenes in which this writer has attempted a deeper passion and more tragical interest.-LAMB, CHARLES, 1808, Specimens of Dramatic Poets. THE FATAL DOWRY 1632 A novelty of much interest, in the revival of Massinger's tragedy of "The Fatal Dowry," produced Wednesday, January 5th, 1825. The original work is one of very great power, but unhappily disfigured by scenes too gross for presentation before an audience making pretension to any degree of refinement. Sheil undertook the task of its purification, and in its adaptation, whilst maintaining the strictest fidelity to the story, substituted scenes. which, in energy, passion, and dramatic power, fully equalled those on which they were grafted. The parts of Rochfort and Charolois were very well represented by Terry and Wallack, and in Romont opportunities were afforded for the display of energy and lofty bearing, to the full height of which I laboured, not unsuccessfully, to reach; but though a great writer says "Il n'y a point de hasard," we often find results under the sway of casualties. The play was well acted, and enthusiastically applauded: its repetition for the following Tuesday was hailed most rapturously.—MACREADY, WILLIAM CHARLES, 1825-67-75, Reminiscences, ed. Pollock. My performance of "The Fair Penitent" was entirely ineffective, and did neither me nor the theater any service; the play itself is a feeble adaptation of Massinger's powerful drama of "The Fatal Dowry," and, as generally happens with such attempts to fit our old plays to our modern stage, the fundamentally objectionable nature of the story could not be reformed without much of the vigorous and terrible effect of the original treatment evaporating in the refining process. Mr. Macready revived Massinger's fine play with considerable success, but both the matter and the manner of our dramatic ancestors is too robust for the audiences of our day, who nevertheless will go and see "Diane de Lys," by a French company of actors, without wincing.-KEMBLE, FRANCES ANN, 1878, Records of a Girlhood, p. 318. He "The Fatal Dowry" is Massinger's highest effort in tragedy, and is putting Shakespeare on one side-perhaps the most pathetic and most powerful of the plays written and produced in the great day of the drama in England. Seldom has there been seen upon the stage a story of more woe than that of Charalois. is raised from abject misery, suddenly and unexpectedly, to most dazzling heights of prosperity, and then, by a revolution of the wheel of fortune, is plunged into such desperate and cureless ruin, and into such an untimely death; and all his woe is caused by the vile, fair woman who had been given to him as wife. Oh, the pity of it all! It is true tragedy. In Charalois a great, fine character is driven by dishonour into piteous, undeserved wreck. -WILSON, H. SCHÜTZ, 1899, Fatal Dowry, Gentleman's Magazine, vol. 287, p. 188. THE NEW WAY TO PAY OLD DEBTS 1633 Pardon, I beseech you, my boldness in presuming to shelter this comedy under the wings of your Lordship's favour and protection. I am not ignorant (having never yet deserved you in my service) that it cannot but meet with a severe construction if, in the clemency of your noble disposition, you fashion not a better defence for me than I can fancy for myself . . nor am I wholly lost in my hopes, but that your Honour (who have ever expressed yourself a favourer and friend to the Muses) may vouchsafe, in your gracious acceptance of this trifle, to give me encouragement to present you with some laboured works, and of a higher strain, hereafter. I was born a devoted servant to the thrice noble family of your incomparable lady, and am most ambitious, but with a becoming distance, to be known to your Lordship, which, if you will please to admit, I shall embrace it as a bounty, that while I live shall oblige me to acknowledge you for my noble patron, and profess myself to be Your Honour's true servant, MASSINGER, PHILIP, 1833, New Way to Pay Old Debts, Dedication to Earl of Caer narvon. It has been several times revived, particularly at Drury Lane, and since at Covent Garden, to assist Henderson, who performed sir Giles Overreach with judgment; but injudicious pruning always wounds a good tree, and this kind of stab did the reputation of Massinger sustain in both this case and in other cases.-DIBDIN, CHARLES, 1795, A Complete History of the Stage, vol. III, p. 237. There is, it is true, one remarkable exception to the general weakness of Massinger's characters. The vigour with which Sir Giles Overreach is set forth has made him the one well-known figure in Massinger's gallery, and the "New Way to Pay Old Debts" showed, in consequence, more vitality than any of his other plays. Much praise has been given, and not more than enough, to the originality and force of the conception. The conventional miser is elevated into a great man by a kind of inverse heroism, and made terrible instead of contemptible. But it is equally plain that here, too, Massinger fails to project himself fairly into his villain. His rants are singularly forcible, but they are clearly what other people would think about him, not what he would really think, still less what he would say, of himself STEPHEN, LESLIE, 1874-79, Hours in a Library, vol. II, p. 165. His "New Way to pay Old Debts" is a very effective play, though in the reading far less interesting and pleasing than most of the others. Yet there are power and passion in it, even if the power be somewhat melodramatic, and the passion of an ignoble type. In one respect he was truly a poet-his conceptions of character were ideal; but his diction, though full of dignity and never commonplace, lacks the charm of the inspired and inspiring word, the relief of the picturesque image that comes so naturally to the help of Fletcher. -LOWELL, JAMES RUSSELL, 1887-92, Massinger and Ford, The Old English Dramatists, ed. Norton, p. 127.* Is the example of the entire Elizabethan and Jacobean drama outside Shakespeare which has longest held its place on the modern stage.--GOSSE, EDMUND, 1894, The Jacobean Poets, p. 213. Has deservedly retained its popularity for theatrical purposes to our own day. Much of this popularity is due to the character of Sir Giles Overreach, whose prosperity and overthrow give just that kind of dramatic satisfaction which is wanting in most of the later Elizabethan plays. The old miser, watching with grim satisfaction the victims struggling in the meshes of his net, is a powerfully drawn. and intensely living personality. reach's madness is too incidental to be an adequate close to the drama, the general moral purpose of which is set forth in Lord Lovel's speech. MASTERMAN, J. HOWARD B., 1897, The Age of Milton, p. 75. THE CITY MADAM 1632-59 Over This bitter satire against the city against the city women for aping the fashions of the court ladies must have been peculiarly gratify ing to the females of the Herbert family and the rest of Massinger's noble patrons and patronesses.-LAMB, CHARLES, 1808, Specimens of Dramatic Poets. I cannot agree with the contention that either the versification or any other internal indication points to the authorship of any other writer than Massinger; nor bring myself to believe that this play was not written by the author of "A New Way to Pay Old Debts," with which it is distinctly congate in sentiment. --WARD, ADOLPHUS WILLIAM, 1875-99, A History of English Dramatic Literature, vol. III, p. 34. A VERY WOMAN 1634-55 The "Very Woman" is, I think, one of the most perfect plays we have.-COLERIDGE, SAMUEL TAYLOR, 1833, Table Talk, April 5. THE BASHFUL LOVER No other of Massinger's plays commends itself by a more effective mixture of abundant incident and noble sentiment than this romantic drama, which from a theatrical point of view well deserved the success it achieved. . . The eleva tion of sentiment that marks Massinger's last work justly entitles it to a more than passing notice among the productions of the later Elisabethan drama. -WARD, ADOLPHUS WILLIAM, 1875-99, A History of English Dramatic Literature, vol. III, p. 36. GENERAL Notwithstanding my partiality for this kind of reading, and some pains I had taken to gratify it, I never heard of Massinger till about two years ago, when a friend of mine, who knew my inclination, lent me a copy of his works!-MASON, JOHN MONCK, 1779, ed. Massinger. If, in Beaumont and Fletcher, we lament that authors sometimes attempt too much, in Massinger, we have a proof that they may do too little. This very charming writer has seldom been allowed the merit he possessed, perhaps, because he was a stranger to presumption, vanity, and those other qualities which often procure for an author more fame than he deserves; posterity, however, generally sets the matter right; which, in the opinions of all judges of genius and taste, has placed Massinger very little behind Jonson, and far before Beaumont and Fletcher.-DIBDIN, CHARLES, 1795, A Complete History of the Stage, vol. III, p. 231. Who approached to Shakespeare in dignity?-SCOTT, SIR WALTER, 1805, The Life of John Dryden. Massinger had not the higher requisites of his art in anything like the degree in which they were possessed by Ford, Webster, Tourneur, Heywood, and others. He never shakes or disturbs the mind with grief. He is read with composure and placid delight. He wrote with that |